Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Tunisia and from Edmonton.
But I was there.
I was there in 1983.
I was there at the first Bronski Beat show in Brixton.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1969 to 1975.
I'm losing my edge.
To all the kids in Bologna and Bologna.
I'm losing my edge to the art-school Madrid kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1976 at the first Chic practice in a loft in New York.
I was working on the spring reverb sounds with much patience.
I was there when Robert Palmer started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Eve St. Jones to the disco kids.
I played it at the Spitz.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Bill Near. All the underground hits.
All Maurizio tracks. I heard you have a vinyl of every The Invisible record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a clarinet and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Aloha Tigers record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pylon,
Ultra Naté,
Stiv Bators,
Heaven 17,
Ten City,
Bluetip,
Kas Product,
The Grass Roots,
Lonnie Liston Smith,
Q and Not U,
Young Marble Giants,
Jawbox,
Isaac Hayes,
Kings Of Tomorrow,
Tropical Tobacco,
Scion,
Soul Sonic Force,
Man Parrish,
Slave,
The Vogues,
Ohio Players,
The Five Americans,
De La Soul & Jungle Brothers,
John Coltrane,
Fatback Band,
Junior Murvin,
Cheater Slicks,
The Jesus and Mary Chain,
Graham Central Station,
Intrusion,
Gil Scott-Heron & Brian Jackson,
Donny Hathaway,
Judy Mowatt,
Sound Behaviour,
The Real Kids,
Von Mondo,
Maurizio,
Radiohead,
Popol Vuh,
The Leaves,
Kauko Röyhkä ja Narttu,
Jeff Mills,
Make Up,
Eden Ahbez,
The Slackers,
A Certain Ratio,
Beasts of Bourbon,
Don Cherry,
Pete Rock & C.L. Smooth,
Dennis Brown,
Lafayette Afro Rock Band,
The Pop Group,
Aswad,
Sun Ra Arkestra,
Second Layer,
The Young Rascals,
Bobbi Humphrey,
Pharaoh Sanders and the Fire Engines,
Pierre Henry,
Chris Corsano,
Dr. Dre and Snoop Doggy Dog,
Dorothy Ashby,
Jacques Brel,
The Index,
Joey Negro, Joey Negro, Joey Negro, Joey Negro.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.